Burning For Buddy I & II

Burning For Buddy - Volume I

Linernotes Essay By Neil Peart

In a single century, there is only one Picasso, one Hemingway, one Frank Lloyd Wright, one Duke Ellington-and one Buddy Rich. "Genius is the fire that lights itself," and the metaphor is apt. The force of such personalities, their artistic visions and prodigal talents do seem to light themselves, and then burn so brightly that they come not only to dominate their own time, but to illuminate everything that comes after.

Like any great artist, Buddy Rich drew upon the lessons of the past ("if we appear tall, it's only because we stand upon the shoulders of giants"), and he learned from early drummers like Chick Webb, JoJones, Davey Tough, Big Sid Catlett, and Gene Krupa. But Buddy wasn't one for looking back; he only pushed forward. The force of his will to excel, his supreme technical ability, and his adaptability to musical changes would keep him at the forefront of drumming or fifty years.

Genius is the fire that lights itself - and how Buddy burned. Even the man who might be considered Buddy's closest rival as drumming giant of the age, Gene Krupa, once said that Buddy was "outside of it," meaning that there were drummers, and then there was Buddy. Late in his life, Buddy was asked if he considered himself "the world's greatest drummer," and he replied:

"Let's put it this way: I have that ambition. You don't really attain greatness. You attain a certain amount of goodness, and if you're really serious about your goodness, you'll keep trying to be great. I have never reached a point in my career where I was totally satisfied with anything I've ever done, but I keep trying."

Buddy kept trying, all his life, and anyone else would say that he certainly did achieve greatness-but it was a long, hard road. Born into a vaudeville family, Buddy began his show business career as a child. Billed as "Traps, the Drum Wonder," he played on Broadway by age four, toured throughout the world, and became one of the most popular child stars of the time. However, by the late '30s, when Buddy was in his 'teens, he wanted to get out of "show business" and into music- specifically jazz. He caused a stir when he first played with Joe Marsala at New York's Hickory House, galvanizing the New York musicians who flocked to see him play. Buddy's reputation grew, and he moved on to bigger bands and greater success with Tommy Dorsey, Bunny Berigan, Artie Shaw, Harry James, and Count Basie.

In the late '40s, after an unhappy stint in the Marines, Buddy started his own big band - launched with a $25,000 loan from Frank Sinatra, his old Tommy Dorsey room-mate.

Unfortunately, big-band jazz was declining in popularity by that time. Vocalists began to dominate pop music, and the new bebop style drove contemporary jazz further "outside. After a few years, Buddy was forced to let the band go. He continued to be prominent on his own through the '50s and 60s, and was featured on a wealth of small group recordings and concerts, a prestigious body of work with "Jazz At The Philharmonic," and star billing with the Harry James band (giving him a Guinness Book of World Records entry as the world's highest paid sideman). Then, in 1966, Buddy launched his own band again, coming back to the big-band format he loved best, and he struggled to sustain it for most of his remaining years.

And he worked constantly touring across America, Europe, the Far East - often upwards of 200 shows a year. In addition, Buddy's many appearances on the "Tonight" show with Johnny Carson (70 of them, by one count) carried his incredible drumming and sharp-edged wit into millions of living rooms - including my own. And indeed, my exposure to Buddy's playing was largely through these late-night TV shows. A small Ontario town didn't offer many opportunities to see great musicians play, but the variety-oriented television of the '60s helped to fill that lack. As a teenager and aspiring drummer, I was completely engrossed by rock music, with little time for other styles, but I watched Buddy on the "Tonight" show many times, and would just shake my head in disbelief. (Like Gene Krupa, it seemed to me there were all these great drummers in the world, and then there was Buddy - above them all.) Many of his signature arrangements were also showcased, and it speaks well for their freshness and strength that I could still remember some of them when I heard them again-25 years later.

And Buddy's music was always young. Although his favorite musical vehicle was a hot big band, he was never about nostalgia he was constantly seeking new material and creative young arrangers, and he often hired his musicians straight out of the music colleges at Berklee or North Texas State. Of course, for these young tyros, Buddy could be a tough boss - he had worked with the best musicians in the world, and it was hard for him to accept less. Buddy wanted perfection, and in its pursuit he could be demanding, temperamental, and abrasive. If he expected 110% from himself, then he wanted at least 100% from his musicians. When asked by an interviewer if he was a tyrant as a leader, Buddy replied:

"I'm not perfect. I'm a semi-perfectionist, but I'm constantly seeking perfection in my playing, and in the people I hire. I'm only a difficult leader when the people I hire are giving me less when I know they are capable of more. I don't stand for players lying down on the job, but I don't ask anybody who works for me to put out any more than I expect from myself. If that makes me a tyrant, then I'm a tyrant."

All but two of the band members on this record are veterans of Buddy's band, and during breaks in the recording, the stories started to come out. One told by Buddy's long-time featured tenor soloist, Steve Marcus, perfectly captures the spirit of all the other tales, and seems to reflect the true spirit of the man as well:

"Buddy came offstage just steaming at me about my playing - I thought I'd played perfect, you know" [with a big smile], "but Buddy didn't think so. So he's ranting away at me, yelling and waving his finger in my face, and threatening to fire me-for the five-hundredth time [another big smile]. And all the while he's trying to undo this long row of buttons on a beautiful silk shirt his wife Marie had bought him. About halfway down, he suddenly paused, went all quiet, and a soft look came over his face. Then he looked at me and said, with perfect sincerity: 'Do you want this shirt?' And I said: 'Aw thanks Buddy, but I don't think it would fit me.' So he pulls the shirt over his head, politely gives it to one of the trumpet players as a gift, then turns back to me and starts up again - yelling, reaming me out, and firing me."

There it is - the proverbial 'shirt off my back' story - and it shows the other side of Buddy's legendary temper. As swift as he was to anger, and to express that anger, he was just as quick to feel generosity or compassion, and to express them too (even all at the same time!). Though he might harangue his musicians, it was nearly always for the one cause that was more important to Buddy than life itself - the music. He just wanted them to play as well as he knew they could - anything else, from himself or his musicians, was unacceptable. For Buddy, there was no compromise:

"You gotta be what you are. You can't be what somebody else would like you to be. I'm myself, and what I am I think I like. The nicest part about it is that I know who I am, and so I don't have to grope for identity. As Bird said, "Now's The Time." What really is the key to this whole thing is whether you can play now, and relate to what's now, and use your past experience to communicate with the people who are listening to music now. That's what it's all about! Every night is new, a challenge. As I said many times, I don't go to work at night. I go to play!"

And Buddy played as he lived-fast and furious. (He drove that way too, by all accounts, racing from town to town in a succession of Jaguars, a Ferrari Dino, a Porsche 928.) Buddy always liked to be moving, preferably quickly, and he never looked back-he lived for the "perfect now." He was a moving fire, a meteor, and the night seemed darker when he was gone. It is wrenching to see how he is still so painfully missed by his family and friends. As they told their stories (each one followed by "Wait-l've got a better one!"), so many people also shared memories of his thoughtfulness, his consideration, his loyalty, and the depth of his feeling. He may not have been a saint or a diplomat, but the stories always seemed to end with: "underneath it all, he was a real sweetheart."

Near the end of Gene Krupa's life, when leukemia was sapping his strength, he and Buddy continued to hold their traditional "drum battles," but close friends could see that Buddy actually held back - this reputedly monumental egotist restrained himself to make Gene look good, and to spare the feelings of a man he openly loved. Buddy also hosted a tribute to Gene before he died, and brought Gene's friends and fellow musicians together in New York to celebrate his life and career. As Buddy tersely put it: "It seems to me you should give flowers to the living."

And that is the purpose of this tribute, of course - to pay homage to a drummer, a musician, his style of music, and the man behind it all. Although this comes too late to honor Buddy in his lifetime, it still represents "flowers for the living" - for the listeners, especially the young about whom Buddy cared so much. Nearly all of the music in this collection is drawn from the repertoire of the Buddy Rich Big Band, which spans forty years and reaches from the straight-ahead swing of the '40s to the rock- and funk-influenced charts of the '70s and '80s.

This first volume slightly favors the more contemporary rhythms, with a taste of "true swing" for the unfamiliar listener, and a few original treats as well: "Lingo," which Bill Bruford composed and had specially arranged for big band, two interludes from Max Roach's classic solo piece "The Drum Also Waltzes," and Arif Mardin's exciting arrangement of the Average White Band hit "Pick Up The Pieces."

In addition to some of today's most prominent drummers (we all know that no one can fill Buddy's shoes - but we can sure have fun trying!), we are also proud to feature some of the best musicians who worked in the Buddy Rich Big Band over the years.

I never knew the man in his lifetime, sadly for me, and yet I feel I've come to know him now. Through this project I've become friends with his family, with his friends, and with the musicians who worked with him. I've had to immerse myself in Buddy's music and drumming to such a degree that I feel as if I have explored his mind - not just what he played, but the way he thought about music. I would even say more - if it's possible to love someone you never knew, then I love this man. Truly, we will not see his like again.

Gene Krupa stated frankly: "Another like him is not even a possibility." Jazz great and technical master Joe Morello said: "The man was a genius. No one will ever equal him." Jim Chapin, the legendary drum teacher, has the final word, for he expressed just what I feel, and captured the spirit of this tribute as well:

"Who will fill his shoes? No one can, but if we just heed his example and fill our own shoes, maybe we will work wonders."

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Burning For Buddy - Volume II: Quantum Swing

Linernotes Essay By Neil Peart

Buddy Rich, like all of us, was two people: the public face, and the private one. However, Buddy was different from most - he wore no "masks," adopted no disguises. He was always purely and comfortably himself.

The so-called "artistic temperament" might often be seen as an excess of honesty. The true artist holds nothing back in performance, and that can carry over into everyday life, making such people "honest to a fault." These individuals have already chosen not to bow to social conventions, but to do as they please, and, inevitably, to say what they please. To many other citizens of this world of protocol and hypocrisy, that sort of behavior is enough to arouse resentment, envy, and condemnation. Sour grapes like these can damage a reputation.

Even those who were closest to Buddy Rich describe him as "a piece of work," and it is clear that he was no ordinary mortalThe public perception of Buddy Rich falls into a long line of 20th Century figures whose reputations are tarnished by a question - a question which is itself a peculiar fascination of the 20th Century: What is the relationship of the artist to the work? Less obscurely posed, that question might be expressed as: "Sure he was a great man, but was he a nice guy?"

No matter how you deconstruct a question like that, there's no easy answer. This charge has been leveled at the reputations of people who range from Ernest Hemingway to Robert Frost to John F. Kennedy to Ty Cobb- and of course, at Buddy Rich. In their chosen fields, we might agree they we all great men, but something else seems more important - were they nice guys?

That, of course, begs a deeper question: does it matter? When we read The Sun Also Rises or "Stopping By Woods On a Snowy Evening," does it matter if Ernie or Bob might have yelled at some fool once in a while? If the Georgia Peach was also considered "the butcher of baseball" for his sharpened spikes and aggressive base-running, does that negate his complete domination of the game for so many years - or that at the time of his death he was supporting more than forty destitute ball-players with a check every month?

These men of "questionable character" were the kind whose random acts of kindness usually remained anonymous, because that's the kind of men they were. They were generous with both time and money to those they felt deserving-and not to those they didn't. With sincere humanity, and a disregard for ap- pearances, they were only concerned about doing good, not about appearing good.

Buddy's daughter Cathy tells me that if Buddy heard about & person in difficulties, he would always ask her to be the one to offer assistance - and keep it anonymous. Again, this was no way to go about building one's reputation. However, it is the way to build true greatness. You try to do well, and you try to do good.

Paul Gauguin's monumental painting "Where do we come from? What are we? Where are we going?" says nearly all there is to say about life, and yet some people complain that in order to make such a painting he deserted his wife and children, ran off to Tahiti to live with teenage native girls, and died of syphilis. Is that the life of Paul Gauguin-or is his real life in that painting? Immortalized in his art, he left us the powerful expression of a soul's purity.

That's a question best left to the French navel-gazers, for it seems to me that most of us are happy to be impressed-literally-by the work, and only then be interested in the maker of it. In life as in art, we judge a person by what he or she does, and if that is sometimes good and sometimes bad, there is no paradox, but simple humanity.

Buddy Rich was human. Certainly a great man, and - usually - a nice guy too. Those closest to him, his friends and family, even his musicians, still speak of him with open affection, and so often you hear them say "I miss him." As we approach the tenth anniversary of his passing, that's a powerful amount of love to have left behind.

So that is one profound legacy of the "private" man, and the rest of us are left with the profound legacy of his music. Many have been impressed by the "pyrotechnics" and speed of Buddy's playing, but few appreciate the depth of his musician-ship. When you hear his work in small-group situations with the likes of Lester Young and Nat Cole, or behind vocalists like Mel Tormé, Sammy Davis Jr., or Frank Sinatra, you realize that here is a musician's musician. Subtle and tasteful when required, supportive and responsive, he could paint the most delicate brushwork behind a song like "Here's That Rainy Day," or drive a big band with the power and intensity of a force of nature.

Buddy Rich was that kind of musician, and that kind of man.

Shortly before Buddy passed away, in 1987, he asked Cathy to try to keep the band working, and to help him "give something back" to American music. This legacy inspired a series of Buddy Rich Memorial Scholarship Concerts, in which guest drummers were invited to sit in with the Buddy Rich Band and play some of Buddy's signature arrangements. The proceeds would help promising young drummers with their musical education.

Buddy considered only two pieces of music his "personal property," which he didn't want anyone else to play. These were his magnum opus epics: "West Side Story Overture And Medley," and "Channel One Suite." That request has been honored, of course, but on this tribute we offer a fresh view of "Channel One Suite," with Buddy himself on drums.

In 1988, a memorial concert for Buddy was held at Carnegie Hall, and for that event Domenick Allen created lyrics and a vocal arrangement for "Channel One Suite." Domenick's aunt, legendary jazz singer Annie Ross, helped to refine the lyrics, which drew upon Buddy's life, his character, and the power of his music. The piece was performed by Domenick, Annie, and two other singers, accompanied by the band and Buddy's taped performance.

By all accounts, it was a moving event, and when Cathy and I were planning this project, she suggested we recreate it. Domenick provided the live recording of "Channel One Suite, which featured a blistering performance and some astonishing solo work from Buddy. (It is fitting that the only real drum solo which appears on this tribute is by the Master himself).

The rest of the band recorded their parts over Buddy's drum track, and Domenick Annie, and Annette Sanders worked late into the night to record it, joined later by Cathy for a few choice lines.

Those of us who were "present at the re-creation" were es pecially moved by the power of Annie Ross. Like Billie Holiday or Frank Sinatra, her voice is somehow able to contain her whole life, and to carry its joys and sorrows straight to the listener.

We offer many other treasures in this second volume, which leans more toward the "true swing" part of Buddy's vast repertoireAs on the first volumefeel that each piece is itself a musical feast, and hopefully together they add up to at least a sketch of the man and his music.

Although it's true that none of the drummers on this tribute plays like Buddy-who could?-we all do a pretty good impression of ourselves, and that's the way Buddy would have wanted it.

For those of us who were influenced and changed by Buddy Rich, we can only hope that through this tribute we might help to keep his music alive, help to keep his memory alive, and perhaps introduce other listeners to this great musical heritage.

I'm sure all of us would agree that it was a wonderful project to be part of, and hopefully that too communicates itself to the listener.

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The Last Time Buddy Played

By Cathy Rich

The last time Buddy played, it wasn't in a concert hall or a smoke-filled club. It wasn't at a festival or a one-nighter in some long since forgotten town. The last time Buddy played, he was at a party surrounded by family and old friends.

He didn't have the benefit of drum sticks, or even a drum. With two wooden spoons and a cutting board, Buddy played. And oh, how he played! As if he knew Father Time was nipping at his heels. And although we didn't know it then, he was. So it had come full circle. Sixty-nine years later, Buddy ended as he had begun, grabbing whatever implement was nearby and making music.

The last time Buddy played, he was unaware of Time and Space. He wasn't thinking about getting back on the bus for another round of endless one-nighters. He was relaxed and happy, and completely absorbed by the music.

Also in the living room that night were Jazz legends Jon Hendricks and Annie Ross. Joined by Annie's nephew Domenick Allen on vocals and guitar, and Vicki Von Eps on piano, they swung! Through old tunes, new tunes, jazz, swing, bepop and pop. Buddy played. He laughed and joked and soloed. Totally at ease and unencumbered, his genius filled the air.

Those of us who were fortunate enough to have been there will never forget that evening of friendship, love. and music. We share a bond that is timeless.

The last time Buddy played, he made me cry from the joy he exuded and the magic he created.

There will never be anyone like him. again.

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Credits

Produced by Neil Peart
Engineered by Paul Northfield
Executive production: Cathy Rich, Liam Birt
Recorded at the Power Station, New York City, May 1994, except "One O'Clock Jump" recorded at Electric Lady Studios, New York City, May 20, 1996
Assisted by Robert Smith, with Rich Alvy, Chris Albert
Mixed at Studio Morin Heights, Quebec, June 1994
Assisted by Simon Pressey, Don Hachey
Digital editing by Simon Pressey and "Sadie"
Mastered by Bob Ludwig
Artists and Repertoire: Cathy Rich, Steve Arnold

Art direction/design: Hugh Syme
Archival photographs courtesy of the Rich family
Recording sessions photographs by Rob Wallis, Pail Siegel, Lissa Wales, Dan Thress

The Buddy Rich Big Band
Saxophones · Andy Fusco, Dave D'Angelo, Steve Marcus, Walt Weiskopf, Jack Stuckey
Trombones · John Mosca, Rick Trager, George Gesslein
Trumpets · Dave Stahl, Ross Konikoff, Greg Gisbert, Scott Wendholt
Bass · Chuck Bergeron)
Piano · Jon Werking
Additional musicians · Trumpet: Bob Millikan, Craig Johnson, Dan Collette, Mike Ponella, Joe Magnarelli, Tony Kadleck, Dean Pratt; Tenor Sax & Flute: Gary Keller; Guitar: John Hart, Chuck Loeb, Bill Beaudoin; Piano: Lee Musiker; Tenor Sax: Mike Rubino

A portion of the royalties from this recording will be donated to the Buddy Rich Memorial Scholarship Fund, for the musical education of promising young drummers.

NEIL would like to offer a personal thank you to fellow Rush-people Ray, Liam, Larry, and Pegi for helping so much to make this massive project actually happen. Paul Northfield, our engineer/metaphysician, did an amazing job under the most challenging of conditions; Skip Gilder-sleeve (my fellow Murph-tone) was very helpful in the research department, and most of all, I have to thank Cathy and Steve, who put in an incredible amount of work to pull together all the drummers, the music, and the band. And what a band! Great musicians and great people, they brought a wealth of talent, experience, commitment, and enthusiasm to this project, and without them, this would all be just a bunch of drummers making noise – "full of sound and fury, signifying nothing." Finally, I wish to thank my wife Jacqueline and daughter Selena - just for tolerating me. (And equally, for tolerating the absence of me!)

CATHY would like to thank: My mother, Marie Rich, for everything! I love you. Nicholas Rich, for the joy you bring to me every day of my life. Steve Arnold, for your support, help, and above all, patience. My "sister," partner-in-crime. and photographer extraordinaire. Jennifer Thurston. "Dude". Everyone at Anthem Entertainment for being a sheer joy to work with: Ray Danniels, Pegi Cecconi, Liam Birt, and Larry Allen. Paul Northfield - you didn't crack once under pressure, and always knew the right thing to do, and say. All the members of the Buddy Rich Band. You were truly amazing, and your commitment was astonishing. Thank you to Ross, Andy, and Steve M. for the stories and laughter, Chuck for the reading material, and all of the artists who gave of themselves and their talent to make this such a special project. DCI Music Video - Cecil B. DeWallis and Spike Siegel (a.k.a. Shuggie & Otis). "DC." Bruce Klauber. Glenn Negrete. Neil: We shared a common vision, but you alone could have turned it into a reality. Thank you for your friendship, talent, and devotion to this project. I wish you could have known Buddy; he would have loved you! You are cut from the same cloth: gifted. strong, and uncompromising in your commitment, not only to the music, but to every aspect of your life. I cherish our friendship. Lastly, I want to thank my father for teaching me never to give up on what I truly believe in, and for giving me the constant inspiration to keep going even when it gets too tough. I love you and miss you.

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Song Credits

Volume I

DANCING MEN 6:38
written & arranged by John LaBarbera, ASCAP
DRUMS: SIMON PHILLIPS
SOLOS: STEVE MARCUS, JOHN MOSCA

MERCY, MERCY, MERCY 5:09
Joe Zawinul, arranged by Phil Wilson, BMI
DRUMS: DAVE WECKL
SOLO: STEVE MARCUS

LOVE FOR SALE 4:30
Cole Porter, arranged by Pete Myers, ASCAP
DRUMS: STEVE GADD
SOLOS ANDY FUSCO, SCOTT WENDHOLT, STEVE MARCUS

BEULAH WITCH 4:30
Don Menza, arranged by Harold Wheeler, ASCAP
DRUMS: MATT SORUM
SOLO: STEVE MARCUS

NUTVILLE 5:06
written & arranged by Greg Hopkins, BMI
DRUMS: STEVE SMITH
SOLOS: STEVE MARCUS, SCOTT WENDHOLT, JON WERKING

COTTON TAIL 4:36
Duke Elington, arranged by John LaBarbera
DRUMS: NEIL PEART
SOLOS: STEVE MARCUS, SCOTT WENDHOLT

NO JIVE 5:46
written & arranged by Bob Mintzer, ASCAP
DRUMS: MANU KATCHÉ
PERCUSSION: MINO CINÉLU
SOLO: STEVE MARCUS

MILESTONES 5:05
Miles Davis
DRUMS: BILL COBHAM
SOLOS: JON WERKING, ANDY FUSCO, JOHN MOSCA, WALT WEISKOPF, SCOTT WENDHOLT

THE DRUM ALSO WALTZES 1 1:04
Max Roach
DRUMS: MAX ROACH

MACHINE 3:46
written & arranged by Bill Reddie, Harstand Music, ASCAP
DRUMS: ROD MORGENSTEIN SOLO: WALT WEISKOPF

STRAIGHT NO CHASER 3:34
Thelonius Monk, arranged by John LaBarbera, BMI
DRUMS: KENNY ARONOFF SOLOS: STEVE MARCUS, CHUCK BERGERON, GREG GISBERT

SLO-FUNK 5:33
written & arranged by Bob Mintzer, ASCAP
DRUMS: OMAR HAKIM SOLO: STEVE MARCUS

SHAWNEE 3:06
written & arranged by Mike Barone
DRUMS: ED SHAUGHNESSY
SOLO: ANDY FUSCO

DRUMORELLO 3:18
Joe Morello, Jean Ann Publishing, BMI
DRUMS: JOE MORELLO

THE DRUM ALSO WALTZES 2 0:48
Max Roach DRUMS: MAX ROACH

LINGO 4:31
Bil Bruford, arranged by C. Batchelor
DRUMS: BILL BRUFORD
KEYBOARDS:JON WERKING
SOLOS: ANDY FUSCO, RICK TRAGER, STEVE MARCUS

YA GOTTA TRY 3:17
arranged by Sam Nestico, ASCAP
DRUMS: MARVIN "SMITTY" SMITH
SOLOS: STEVE MARCUS, WALT WEISKOPF

PICK UP THE PIECES 5:38
Ball /Duncan / Gorrie / McIntosh / Mcintyre / Stuart
arranged by Arif Mardin
DRUMS: STEVE FERRONE
PERCUSSION: KENNY ARONOFF & NEIL PEART

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Volume II

MOMENT'S NOTICE
John Coltrane; Jowcol Music, BMI, arranged by Don Piestruc
DRUMS STEVE SMILE
SOLOS: ANDY FUSCO, GREG GISBERT, STEVE MARCUS

BASICALLY BLUES
Phil Wison; Trio Music Co, Inc./ Fort Knox Music, Inc. BMI
DRUMS: STEVE GADD
SOLOS: SCOTT WENDHOLT, WALT WEISKOPF, JON WERKING

WILLOWCREST
written and arranged ov Bob Florence; EMI U Catalog Inc./Cathy Marie Music, ASCAP
DRUMS: BILL BUFORD
SOLOS: STEVE MARCUS, SCOTT WENDHOLT

IN A MELLOW TONE
Duke Ellington: EMI Robbins Catalog Inc. ASCAP, arranged by Oliver Neison
DRUMS: GREGG BISSONETTE
SOLOS GREG GISBERT, JOHN MOSCA

TIME CHECK
written and arranged bv Don Mensa; Rodon Munic, ASCAP
DRUMSI DAVE WECKL
SOLO STEVE MARCUS

GOODBYE YESTERDAY
written and arrangad by Don Piestrup; EMI U Catalog Inc./Cathy Marie Music, ASCAP
DRUMS SIMON PHILLIPS
FLUTES: ANDY FUSCO, DAVE D'ANGELO
SOLOS: WALT WEISKOPF, SCOTT WENDHOLT (FLUEGELHORN)

GROOVIN' HARD
written and arranged by Don Menza; Croma Music Co. Inc., ASCAP
DRUMS: DAVE GARIBALDI
SOLO: STEVE MARCUS

BIG SWING FACE
written and arranged by Bill Potts; EMI U Catalog Inc. ASCAP
DRUMS: KENNY ARONOFF
SOLO: STEVE MARCUS

STANDING UP IN A HAMMOCK
written and arranged by Bill Potts; EMI U Catalog Inc. ASCAP
DRUMS: MARVIN "SMITTY" SMITH
SOLOS: JON WERKING. JOHN MOSCA, ANDY FUSCO, STEVE MARCUS

TAKE THE A TRAIN
Billy Strayhorn: Tempo Music Inc. c/o Music Sales Corporation. ASCAP
DRUMS: JOE MORELLO
WITH STEVE MARCUS, JON WERKING, AND CHUCK BERGERON

ONE O'CLOCK JUMP
Count Basie: EMI Feist Catalog Inc., ASCAP. arranged by Bill Cunliffe
DRUMS: NEIL PEART
SOLOS: LEE MUSIKER, MIKE RUBINO, SCOTT WENDHOLT, DEAN PRATT, JOHN MOSCA

THEM THERE EYES
Maceo Pinkard, William Tracey, Doris Tauber: Boure Co., ASCAP, arranged by John La Barbera
VOCAL: CATHY RICH
DRUMS: STEVE ARNOLD
v SOLO STEVE MARCUS

CHANNEL ONE SUITE
(Lyric Version) (From: "Channel One Suite")
Original Author: Bill Reddie. Lyrics added by: Domenick Allen and Annie Ross. Publisher: EMI U Catalog Inc./Cathy Marie Music/Sushi Music, Inc. (ASCAP). All Rights Reserved. International Copyright Secured. Used by Permission, arranged by Bill Reddie, vocals arranged by Domenick Allen
DRUMS: BUDDY RICH (original drum track recordod live 1968)
VOCALS: DOMENICK ALLEN, ANNIE ROSS, ANNETTE SANDERS, CATHY RICH
GUITAR: CHUCK LOEB
FLUTE: WALT WEISKOPF, ANDY FUSCO, DAVE D'ANGELO

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